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For the most part, pianists and harpsichordists don’t have direct contact with the strings of their instruments. Therefore, they manipulate sound through a …
Think about it, we press on those slabs of pianos to make a note, )these are called keys) and the key has a small hammer that strikes a string in said piano, making a note.
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|Composers started marking their scores with instructions about dynamics:||Well into the 17th century|
|For the most part, pianists and harpsichordists don’t have direct contact with the strings of their instruments. Therefore, they manipulate sound through a _______________mechanism.||keyboard|
|Which of the following two excerpts uses soft dynamics?
|Excerpt B an excerpt of Beethoven’s Moonlight Sonata for piano, exemplifies soft dynamics.|
|Percussion players produce more or less volume by changing bow pressure and speed.||False Percussion players DON’T produce more or less volume by changing bow pressure and speed. They simply don’t use a bow.|
|The volume of this excerpt is an example of which of the following?
|Piano This excerpt from Modest Mussorgsky’s Pictures at an Exhibition is an example of piano volume.|
Volume and dynamics are interchangeable terms.
|As a musical concept, dynamics covers only the overall loudness or softness of a piece of music.||False That was a false statement. Dynamics can refer to the overall loudness or softness of music, as well as to the process of gradual change between volume levels.|
|Musicians have always made their own choices regarding volume to fine tune their playing to specific performance spaces.||False This only happened before composers started marking scores with instructions about volume.|
|This musical excerpt is an example of forte||True This excerpt from Antonin Dvorak’s Slavonic Dance No. 8 is an example of forte.|
|A pianist’s skill in manipulating volume is usually referred to as the performer’s_______________||touch|